Screenshot: Mile 22

Welcome back to Trailer Happy Hour, where we got the trailers, you got the eyes, and together, we make the magic happen. Today, we’ve got Sylvester Stallone breaking out of prison yet again, Mark Wahlberg growling at people, and some assistants trying to get their bosses to touch faces, so let’s dive right in.


First up: Wahlberg’s new thriller Mile 22. Now, we know that director Peter Berg probably wants us focused on how gritty his frequent collaborator Wahlberg is being—or at least on all this tough-guy, “You don’t intimidate me, fuck-o” dialogue. But honestly, we can’t stop staring at John Malkovich’s head. With no intention of bald-shaming the prolific actor, we have to say: “Crewcut” is not a look that works for him, no matter how much of a military hardass he’s supposed to be.


Next, we’ve got Set It Up, one of roughly a jillion new projects Netflix has lined up for itself this year. The rom-com stars Zoey Deutch and Glen Powell as stressed-out assistants who try to set up their respective bosses (Lucy Liu and Taye Diggs) in order to ease the workload on themselves. But will they fall in love, too? Yes, almost certainly. The movie comes out on June 15.

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Meanwhile, the slightly lighter side of the tough-guy violence spectrum is also getting represented today, with the new trailer for Sylvester Stallone’s Escape Plan 2: Hades. Stallone’s expert jail-breaker has traded one giant slab of human muscle for another this time, swapping in Dave Bautista for the first film’s Arnold Schwarzenegger. (Also, there’s a whole “human zoo/gladiator arena” element to this latest high-tech jail, one that looks to ensure lots of fight club shenanigans along the way.)

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Finally, we’ve got something altogether more sober, if no less joyful in its own way: a new trailer for the biopic Worlds Of Ursula K. Le Guin. The Earthsea author died earlier this year, but the documentary—from Arwen Curry—charts the impact of her life, from her beloved novels for readers of all ages and generations, to her fierce battles to refuse to be labeled by anyone else as she explored the realms (and tricky personal politics) of speculative fiction.

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